This article explores the meanings of the arts produced in the 2014 Hong Kong Umbrella Movement, using a reinterpretation of Hannah Arendt’s political philosophy. It examines how these arts struggle with the tensions between politics and aesthetics. These arts are not only politically provocative in themselves but they also provide us new perspectives in understanding participatory politics and participatory arts, in general. The discussion is based on two sets of tensions: the tensions between arts and artifacts and those between actors and spectators.
Arendt in Hong Kong: Occupy, Participatory Art, and Place-Making
Laikwan Pang teaches at the Chinese University of Hong Kong. She is the author of several books, including The Distorting Mirror: Visual Modernity in China (2007) and Creativity and Its Discontents: China’s Creative Industries and Intellectual Property Rights Offenses (2012). Her latest book, The Arts of Cloning: Creative Productions in China’s Cultural Revolution, is forthcoming.